I do some sw where my rule is “no men” and trans men get really weird about it so I’m glad you’re talking about something similar. one of the boxes on my consent form for private time is “are you a man? I do not work with men” And they check “yes”. And then it auto-rejects. And then I get a note or message from them like “is it ok I’m actually a trans man” no? What? my work stuff is all clearly labeled or advertised as “lesbian domme” or “open to work with submissive women”. It happened so much that I added “I don’t work with men, including trans men” which feels redundant as someone explicitly trans-friendly.
I’ll say, cis men are Worse about the boundary, I am inundated with cis men who want me to break my rule, but those men are typically huge shit heads from the get-go, whereas the trans men I’m saying no to are like…. Genuinely convinced they don’t count in the category of “man”. The ones I meet at parties and stuff are 90% kind and then talk down to me all of a sudden when I say I don’t work with men, as if I just don’t get queer history/culture/gender variance/whatever.
Literally this. Literally exactly this. I don't really have anything to add to this. Men's entitlement truly knows no bounds.
actually gonna reblog this because these are the uncomfortable things trans men have to face as men. manhood can mean a lot of things, but that’s irrelevant to my point. what you need to be aware of is that you are unconsciously holding a loaded gun in every interaction you have with trans women. you are a danger to every woman who shares your marginalization, unless you are actively aware of this and consciously pointing that gun in a different direction. not because of biology, not because men are inherently evil or any nonsense like that, but because of your social power over women in your community. this is very basic feminism intersectional feminism. im not saying trans men are worse than cis people, im not saying you’re evil, im not blaming you for transmisogyny and im not saying you want to hurt trans women. i’m saying you have privilege over women, because you are men, and that you will hurt trans women if you don’t recognize that. im saying your transness does not make you immune to perpetuating misogyny. if knowing that makes you uncomfortable— good! it’s fucked up that society is stratified and classed in this way. transmisogyny is fucking terrible, and it’s terrible that you can leverage and benefit from it. but instead of lashing out at people telling you an uncomfortable truth, consider that the onus may be on you to get a little more comfortable with being uncomfortable.
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Foundational element of Clark and Lois' relationship has to be Perry pairing the mild-mannered, slightly haphazard (working theory is ADHD) newbie journalist to keep a leash on (grudgingly) his best albeit mildly dyslexic writer who has occasional alarming lapses of professionalism in order to make pointed jokes and comments.
It takes three days before Perry realizes they might be getting married and less than one for him to realize that Clark Kent is never going to stop Lois from doing anything, she's actually a horrible influence on him, and she only survives crazier and crazier odds with him around.
the thing about copyright abolition is that. what makes theft bad is that something is taken away from its rightful owner. in this sense, copyright infringement is literally not theft, because making a copy of something doesn't tangibly cause the original owner to lose anything that they would otherwise have. copyright enforcement, on the other hand, does take away people's access to what should be theirs. anyone who makes art while employed by a corporation and is unable to sell their work because it does not belong to them, anyone who's been sued by a pop musician for making music that sounds vaguely similar if you don't allow the jury to listen to the actual songs, these people have far more in common with victims of theft than anyone whose copyright has been infringed
Don't think this analogy really works because you could equally say that wage theft isn't taking away money from someone. It's just refusing to enforce an agreement to give it to them. Whereas enforcing payment for goods or services always requires taking something away from people
The boring meta take is that the goodness or badness of stealing is based on the social structure around it and what its consequences are, not some inherent fact about it
Dogshit take, tbh. Begging the question, analogy so stretched it's taffy.
Your position boils down to disagreeing with OPs conclusion that IP law violation isn't the same category as theft in a legal sense, or in the material sense.
The counterargument you pose gives as an example a clear case of material and legal thievery.
Labor is a service.
Materially speaking, labor creates value, and wage theft is not compensating that labor what is promised. Value has thus been extracted from one party without mutual consent and mutual gain. Theft of physical property is also the extraction of value from one party without mutual consent and gain. One uses the power imbalance between employer and employee, the other uses larceny. The result is the same.
Legally speaking, extracting goods or services from an individual under false pretenses (promise of compensation) is fraud. Fraud is a form of theft and is prosecuted in criminal law.
Holding IP rights in-and-off-itself does not create value. In fact, IP rights is a means of production! IP can be used by laborers (e.g. film crews) to create art, which has value.
The IP rights holder then demands rent — a cut of the profits — in exchange for allowing the laborers to use the IP.
Holding the legal right to IP is possession of private property and the primary way to profit off of IP rights is rent extraction.
Copying of the art created using IP does not deprive the IP rights holder of any value because the IP rights holder does not labor and creates no value, only extracts rent.
Legally speaking, IP rights violations are prosecuted in contract and tort law, according to "lost business profit" — for instance if a company A fails to deliver dohickeys on time or of a requisite quality, which causes another company B to fail to fullfil their orders of thingamabobs to 500 customers and B has to pay penalties for failing to deliver, B can name A's failure to deliver on a contract as responsible for their loss. (The failure to deliver is contract law, the damages of lost business is tort.)
IP rights holders prosecute pirates according to this doctrine, claiming that N thousand downloads of film F times M dollars of profit per sale of a copy of F is a real number of dollars that they are entitled to in lost business damages.
Science, however, directly proves otherwise, according to a report commissioned by the EU in 2013, which found that people pirating movies either never ever buy any movies (no intent to buy = no lost profit) or very often go on to actually purchase when they otherwise wouldn't have (i.e. it is free advertising.) The report concluded that piracy is actually beneficial to IP rights holders.
IP rights enforcement is enforcement of private property rights, by the state, to protect the interests of renters. It had been used to put people into eternal indentured servitude, send people to prison, and prevent owners of technological devices from repairing their rightfully purchased physical goods. (Like farmers being banned from repairing their own farming equipment, leading to grain rotting in the field.)
So please, alkatyn, explain to me why wage theft isn't theft or, conversely, why IP rights violation is theft.
Look, I know it's funny to say the PC-98 eroge had a stellar soundtrack for 'just an eroge'.
But that is extremely dismissive of what YU-NO is and how it shaped the landscape of future releases in the era.
Like we're talking about a game with time travel that lets you set down checkpoints in time, so you can collect items across multiple timelines and solve a series of mysteries.
It's a story so long and complicated, it had been in Kanno's mind and developing for over a decade. It's a story that doesn't even properly work as a show or movie, it has to be a game.
This title was extremely influential to how the sci-fi genre evolved in the adventure game medium of this era in japan.
Titles like Steins;Gate wouldn't exist in nearly the same fashion, KEY works would be entirely different, other adventure game producing companies started trying to push themselves to match YU-NO's high production values.
I'm sorry but you can be funny without being dismissive of something that had a huge cultural impact on a medium of storytelling.
the composer Ryu Umemoto left his well-paying job scoring licensed games at FamilySoft to work in the pc-98 eroge scene because of the creative freedom it allowed him. he and the writer Hiroyuki Kanno worked together on several ambitious games for various small erotic games companies. there's a great obituary that talks about his life, here: click.
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for so many years at the beginning when everyone first started really paying attention to the terfs and hating them, i tried to warn them... you gotta love trans women more than you hate terfs or you're going to help their transmisogynistic goals. and then what did people do? hated terfs more than they loved trans women. and now they call trans women terfs to justify their transmisogyny. and then they say anyone who won't join them is why trans solidarity is in the shitter.
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Haunting The Narrative: The Roaring Knight and The Angel of the Prophecy
With Chapter 5 of Deltarune now firmly explored, I figured this was a good time to put all of my thoughts together on where the story is going with its main antagonist and far-off looming threat. Many people have had a lot of ideas and theories as to who The Roaring Knight is and who or what will become The Angel. If you like to play with the idea of "Rudy Knight," "Player Angel," or even "Papyrus Knight" of all things, more power to you. Keep having your fun and exercising your brain, it's good to stay sharp.
However, I can't help but feel put off by people saying Chapter 5 didn't offer anything new, or was ultimately weak. And then there's people who miss the forest for the trees, like so:
I'm sorry, to say that December Holiday is 'barely introduced or mentioned' is just not understanding the plain text of Deltarune's story.
Putting aside minute details of bats, horns, teardrops, handedness, or even height comparisons, here is why Dess is The Roaring Knight, and what that means for the overall story of Deltarune, from a purely narrative standpoint.
Let's take a look at what we know and are told about the Knight and about December in each chapter of the story.
Chapter 1
The first time we hear mention of the Knight is from Seam:
The Fountain of Card Kingdom was made recently, as told by Ralsei. Also recently, the Knight appeared to cause some trouble.
King also discusses the Knight being the one to lift the Darkners out of their obscurity, and dedicates his entire takeover of the kingdom and his fighting against the Lightners TO the Knight.
So even from Chapter 1, we know that the Knight is a big deal, but still a vague entity that's out of reach for the moment but causing problems. This is simple classic narrative framing of the Knight as the primary antagonist. The Knight fills the trope of The Dragon as the threatening active malevolent force to the ultimate antagonistic entity, The Angel. It's a straightforward and elegant setup.
Chapter 2
This is where the vast majority of narrative elements really spring up.
Just like in Chapter 1, we hear from various NPCs that the Knight created the Dark World and shifted the balance of power in the land. Queen was a happy member of Cyber World until the Knight took action. From talking to Sweet Cap'n Cakes at their shop:
Sweet: Queen wasn't always so… harsh.
Cap'n: No, she WAS! She just got WORSE somehow!
Sweet: It wasn't 'til that DARK FOUNTAIN showed up,
Cap'n: That she started going into overdrive.
Sweet: "Knight" this, "Knight" that, "Fountain" that…
Cap'n: Like, what does that Knight have going for it that I don't!? C'mon!!
Queen reaffirms this in taking a heavy interest in the Knight's actions.
She saw the creation of the Dark World as a wonderful thing, with how many people love being there. Everyone is totally on board with making more Fountains after seeing how many friends they can make and how everything about how the world works is just better than in the Light World. This is what Queen wanted: to make everyone smile, especially Noelle.
This chapter is where we also get a deep dive into Noelle and all of her feelings about a lot of things. We hear about her thoughts on Kris, and their history with Dess and Asriel. Dess was a big influence on Noelle, and her disappearance left Noelle aimless and sad for a long, long time. She even tells Susie that she's been feeling trapped and wanting to do something crazy like growing wings and flying away from everything.
This is where we begin to see how much Dess haunts the narrative. Queen talks about Noelle's sad searches, wants her to discover her true power, and is following in the Knight's example. Everything here stems from Dess's disappearance leaving a mark on Noelle, and not just her.
Noelle lost the spelling bee to Berdly because she froze up when having to spell "December." That let Berdly win, and he found joy in being seen as the Smart Kid ever since, but even he admits that all the credit should go to Noelle. He then goes on to explain that he wants to help shape the Dark World into a place where Noelle can be happy, exactly like Queen.
Berdly's entire character arc throughout his life since childhood and Queen's entire motivation for doing everything she does both stem from Dess's disappearance. The Knight created the Dark World, and Dess motivated all the key players in it.
Chapter 3
Noelle isn't present in this Chapter and we know for certain that Kris made TV World, but the Knight is still an active player in the world. Tenna explains that the reason he did everything to keep the Lightners busy was because the Knight told him that he'd be rewarded with people watching him again, forever.
People started leaving.
We see that the first one to leave is Dess.
Dess's disappearance broke apart the Dreemurr and Holiday families, and that led to no more people coming over to watch TV anymore. Tenna's entire characterization is because of the Knight's orders, motivated by events caused by Dess disappearing.
And of course, we cannot ignore the obvious.
The Knight punishes Tenna's disobedience and then faces off against the Lightners. Here you could make a lot of arguments about who the Knight is based on their appearance, but that's not the point of this post. We're at the end of Chapter 3 here, almost at the midpoint of the entire story. The big looming force we've only heard talked about finally being revealed is fitting in the perspective of the story's timeline. This is where Deltarune shifts into it's proper second act. It's time to see what's really at stake.
Chapter 4
This Chapter has quite an extensive Light World segment at the Holiday house, and a lot of interaction with Noelle. We learn more about Dess by entering her room and see that a code to the shelter is in her guitar. The Shelter is where the Knight is taking people after capturing them, and Dess has part of a key to enter it. At the very least, this confirms that Dess was involved with the things going on at the Shelter and the other Dark Worlds.
The Knight makes a lot more appearances this chapter as well, standing in the Lightners' way at several points. Once again, it's obvious they want to cause the Roaring as they defend the Fountain and summon a Titan. Not much is added to what we know about the Knight aside from what they can do, but this adds to the overall narrative of the Knight's malevolence.
Everything in the Light World stems from Dess's disappearance and how it impacts Kris and the Holidays. Everything in the Dark World stems from the Knight's actions in forming and defending the Fountains. These two elements keep coming up together at this point and pushing the story forward.
Chapter 5
The Knight takes a backseat in this Chapter, only showing up at the end to kidnap Asgore. However, Asgore gives a good amount of context about the past in the world of Deltarune in his research on the Dark World.
There is an undescribed tragedy that occurred because of the Dark World, and Asgore spent so long trying to prove its existence that he drove away his own family and his entire career fell apart. That repeats itself in the Chapter as he realizes he's in another Dark World and strives to complete his research. He's interrupted at every turn by the Flowers trying to spend time with him and the words of his notes being jumbled up, but he knows that he'll at least meet the Fountain's creator to repay back all the pain they caused to him and others he loves.
This is where we start to toe the line into speculation, but it sounds like the great pain Asgore refers to is the disappearance of Dess. Something happened in a Dark World many years ago that caused Dess to vanish, and Asgore witnessed it. Either he blamed himself for it or others put the blame on him. In either case, he was sent on that spiral that made him who he is today. Toriel left him, and his children grew estranged from him. Only Carol seems to offer him any kind of support.
If this is truly the case, then like Berdly, Queen, and Tenna, everything that Asgore is motivated by stems from Dess's disappearance. From chapter 2 onwards, Dess is a massive factor into the overall motivation and characterization of every new main character we meet. The Knight is also the biggest antagonistic force in the entire game, either directly standing against the Lightners or motivating others to do the same for some reason or another.
Dess and the Knight are the biggest factors driving all of Deltarune's story.
What This Means
As the two are so important to the overall story, and that they both have connections to the Dark World, that makes Dess being the Knight in some fashion the thing that makes the most sense from a narrative standpoint. No other character has the same degree of significance pushing so many heavy hitting characters to do what they do and be who they are besides Dess. She haunts the entire narrative, and being a ghost or some shell of her former self acting out the will of a higher dark power is premium Dragon territory, much like the tragic end of Anakin Skywalker and his shift into the imposing Darth Vader.
Now, here is where I go fully into speculation mode. I made a separate post about this before, but it bears repeating here:
I think Noelle becomes The Angel.
Any Lightner can make a Dark Fountain, but Queen focuses specifically on Noelle, wanting to unleash her power especially. Noelle is told to choose the world that makes her happy, and that world is the Dark World, before Ralsei intervenes. Noelle's reasoning is very telling:
Noelle has already stated that she wants to be able to grow wings and fly away from all of the things that make her feel trapped. She reiterates this even in Weird Route. She wants there to be a world where, with a little bit of magic, she can make everything right again. We see it directly with her father, Rudy.
Now imagine if she also learns that her sister, whose disappearance caused her so much pain and grief for years, was around in the Dark World.
Noelle was already happy to make a Dark World, but with that knowledge?
I think that will be a big enough trigger for Noelle to feel a great surge of Determination.
Noelle wanting to make a world where she can bring her sister back and keep her dad healthy and happy would be a perfect fit for her character.
She does have happy memories of making snow angels with Dess, after all.
did they ever fully resolve the custody issue because imagine if a social worker showed up again and Buffy was like "sure my living situation is stable! I'm currently living here with my sister, two friends from high school, my friend's ex fiance, my... on and off boyfriend who is chained up in the basement sometimes, another guy from high school whose name I keep forgetting, our former high school librarian, my sister's classmate, and a dozen exchange students. but I also have a job now. at the high school."
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Saw a white transmasc with my deadname have the audacity to describe themselves as a “femboi”
Like. To break this down Barney style.
1. “Boi” in a queer context is a Black lesbian-specific identity similar to stud, and you out here as someone nonblack callin yourself that?
2. Femboy is a slur specifically targeted at trans women, the successor to “trap”. TME people using it is comparable to white people calling themselves “Wigga” 😭
Everybody wants what Black and Transfemme folks have but also wants us dead smh.
